Reviews (page 2 of 8)
A very unique voice and style. I quite enjoyed it.
***a good, easy listening album
엄청좋음
Starts strong and kind of drifts after. I liked Stolen Car and Sweetest Decline the best even though they were very different types of songs. Maybe her very unique voice is best when she doesn’t try too hard.
She reminds me a bit of Joni Mitchell, but not in a “oh wow I really like her” kind of way. Some of her vocals are straight grating. Other times, quite beautiful. The style is equally as inconsistent. Most of it is female folk singer blah. But then there are some techno-y sounds songs here too? I mean… it’s ok I guess. But ok won’t keep me coming back.
A very familiar sound
Bloody hell, this is so very, very dreary.
The best songs on this album are the ones that sound nothing like the rest of it. So Stolen Car and (my favorite off of it) Stars All Seem to Weep. I especially like the trip-hop/g-funk of the latter. The rest of the album is kinda boring and forgettable, although with a lot of Joni Mitchell worship going on, but I'd just rather listen to Joni. Solid album though.
2.5
Loved it. Perfect listening while I was doing PowerPoint presentations
I don’t find Beth Orton that interesting. The most interesting thing about this album to me is how 1999 it sounds. Orton’s pronunciation is really of its time for singer songwriter voices, it’s like she’s trying to add a bunch of h’s in the middle of words (like “buhurning” instead of burning). Very the voice people were doing at the time, sort of like “cursive singing” in the 2010s people would make fun of. Anyway not bad but I don’t see a lot worth returning to, I liked Couldn’t Cause Me Harm.
Perfectly passabel album. Not too much to hate about it, but at the same time not enough special things about it to love
Very EBTG coded
Was mid. Then I got sick of it and started to not want to hear it at all. 👎
I don’t mind this but it’s too long.
Something I would have imagined you heard in a coffee shop in the late 90s/early 2000s. Easily fades into the background without being offensive. Didn't hate listening to it but can't see myself returning to it after today. 3/5
3,6/5
I thought this album was... fine? Not my type of music for sure. It wasn't bad, but also didn't have anything I'd take away or particularly enjoy from it. I hate to keep digging on music from this timeframe, but I think on average I'm more negative than positive.
I actually kind of liked "Central Reservation" (the song). A lot of stuff was way too depressing though.
I learned I like something called "folktronica". This was a great surprise. Super relaxing but not too boring and her voice was great. In all kinds of early 2000s shows and movies, it sounds like it matches many a soundtrack.
I love Beth Orton.
Mid album by a mid artist. better yet mid because I guess it's just not my type of music. Not enough energy too... Stolen car was the best song in the album
Pleasant, sleepy, ultimately a lil boring. Saved a song: N RYM: N
Yeah, Beth cool
I recognized Beth Orton’s name from her work with William Orbit and the Chemical Brothers, where her gorgeous voice counterpoints the electronica to add something special. This album shows that she is equally talented as a songwriter, mostly in a folky, chillout style with a nod to trip hop in the understated production here. This reminded me of Everything But The Girl in places, and I wasn’t surprised to see that Ben Watt had produced two tracks. The highlight for me was Stars All Seem to Weep which was utterly haunting. This is very good indeed. I just wish there were more artists like this on this list.
Very eclectic folksy record which draws frpm several influences folktronica, downtempo... to offer a mild yet rewarding listen. 7/10 [KEEP]
Dull. But pretty.
Some interesting moments in Beth Orton's award winning album, especially towards the beginning, but by the end my attention was wandering and boredom was setting in. Best track is the opener, Stolen Car, and Couldn't Cause Me Harm is also a good track. The title track sounds fine in the centre of the album, but the remixed version, which would have gained more airplay, is an uncomfortable shoe-in on the end and doesn't fit well, especially with the acoustic songs that had preceded it. I'm not a fan of her voice, but I do like the mix of acoustic, modern folk music with a bit of electronica. But I was losing interest by the end. 2 stars.
Some very nice singer-songwriter folk pop. Orton's singing is both soothing and melancholic. At first I had wished it was a little more melodic, but after a few relistens, her slightly raspy vocals have grown on me.
I listened to one song of hers before so I wasn’t expecting much, but I was pleasantly surprised.
It has its interesting moments, but didn't fully grab me.
Milquetoast
This was very close to being very good in my book. I really liked the compositions, and the atmospheres, and a lot of the songwriting. I think that this actually outshines a lot in this genre (not my favorite). Personally, I just found the melodies a little to wandering usually in the choruses. Overall though I’d say I was really impressed with this heartfelt, poignant, and thoughtful release. It’s just not one that I’ll return to often. If the choruses were punchier or catchier I definitely would.
This one was just brutal. Took me so many attempts to get through, so many that I don’t wanna waste any more time on it. Instead, I will give you all my review of the film. I saw tonight “You Can See Everything”. I have always considered Nathan Fielder to be one of the most brilliant minds in comedy. He’s never shied away from testing his range. He proved this with the last season of The Rehearsal. Here, his talents are on full display. He shoots the whole thing like a drama, yet he’s so funny in this thing. The thing I admire most about him is his ability to really step back and let people talk, and in doing so in many cases, let them dig their own grave. He’s also just so good at pressing and not letting people off the hook. He completely subverts the documentary genre in this one. And the thing that I admire the most is that he never really seems to pick who the true villain is. He’s got an angle, but he lets you decide. You leave the theater with more questions than you came in with. 10/10
I really enjoy the mix of acoustic and electronic on this album. there's loops that don't get old due to the exploration within and around them. some cool atmospheric guitar flowing across a lot of these songs. the string arrangements are divine and pair well with the rest of the instrumentation and vocals. overall crisp production given the abundance of sounds and instruments. the record slows and quiets down a bit in the second half, but there's a coming back to life at the end with the alternate version of "Central Reservation" which hits pretty good. certainly of its era -- you can tell pretty quick this is a product of the late-'90s. maybe not something I'll spin much again, but wouldn't complain if it started playing.
The atmosphere was great, but I just couldn’t get behind Orton’s vocals a lot of the time. There were songs where she made it work, like “Pass in Time,” but a lot of it was… “grating” is not the right word, but I can’t think of one to fit it right now.
A very pleasant surprise. Mixes acoustic songwriting and more downtempo electronic production to cool results! A lot of nice tracks, although some are kind of forgettable.
I can see how this album would completely hit if you listened in the right mood, and completely miss if you were not in the right mood.
This was boring. Several songs seemed like worse ripoffs of other music, such as Stolen Car which had melodies and rhythms that closely resembled Jolene by Dolly Parton.
I wanted to like this more than I did after the first song. I just don't think the singing is all that great. If it was, this would be higher.
I wanted to like this. Nice sounds and good performances of strong arrangements, but the songwriting is unoriginal and the lyrics I can understand tend toward irritating. This would be a better album and maybe a good one if she didn't feel like he had to perform her own material. In order to like this as is, I had to imagine conditions under which it would sound good. Unfortunately I had to add to them as the album progressed. Less than halfway through I decided that I would like this if I were anxiously sitting in a dentist's waiting room. A few tunes later I decided I would have to be stuck in the chair undergoing a dental procedure. A tune or two later, I realized that it would need to be an especially challenging procedure, like getting a filling or maybe even a crown. Soon enough, I would need to be undernovicated and desperate for something unrelated to focus on. I turned it off when I realized I would need to be the dentist, with no more training than I have now, and the patient my own child.
An interesting choice for Beth Orton, since it's *not* her debut album, but I suppose it was her most successful album as of 2005, and it's all new to me, which is great. As I listened to the album I felt like the name and voice seemed vaguely familiar, and then read that she'd collaborated on various Chemical Brothers tracks in the 90s, and finally she clicked. I kind of wish we'd gotten her earlier "Trailer Park" album, which sounds like it might play more to her strengths of a great voice over electronica sounds. But aside from the too-slow Nora-Jones-esque tracks that kind of fall flat--like "Sweetest decline", "So much more" or even "Love like laughter" (despite Ben Harper's guitar)--it's a solid album overall and kept me going despite the too-long length. The best of the lot are the songs with great collaborators: "Stolen car" (Ben Harper), "Pass in time" (William Orbit), and "Stars all seem to weep" and the "The Then Again Version" of the title track (both with Ben Watt, of "Everything But the Girl"), as well as "Blood red river". I'm really torn about whether this is a 3- or 4-star album, since it's so much better than most three-stars. but perhaps not strong enough for four? Rounding up I guess.
Her voice reminded me of Alanis Morrisette, though Orton's is nicer, and the songs too were not-so jagged but folksy little pills. The music was especially lush on the first track, and the rest was okay.
enjoyed it
The good thing is that the album is coherent, sticks to the same style, and feels like one work. She's a good singer and has good sense. To my taste it felt a bit repetitive.
Pretty good! Nice and dark, with some fun instrumentals and ortons voice sits very well
Enjoyable album, could have been a 4 if had been a bit shorter.
All of it is mediocre
Really boring. Literally every song sounds the exact same. British.
Meh. Nice enough voice but it just all blends together & nothing stands out at all
Nice voice & very nice orchestration of nice songs. Holds together well as an album. A 3 or a 4; need to listen again.
Surprised by this. A little too long but arrangements were great. 3.5
Such a beautifully sung record with very lush guitar work I feel like this is one I’ll get into more overtime but right now I just see it as good. Some of the songs can go on for so long it can be seen as uninteresting but the songs that work really do. Fav tracks: stolen car, sweetest decline, pass in time, stars all seem to weep, and central reservations (both og and remix)
Meh
Saaie achtergrondmuziek
Stolen Car is a ripping album opener. however, the album did feel like it went on a little too long and started to sound very sameish.
Wake up, babe! New coffeehouse playlist just dropped! In all seriousness, I don't see what sets this album apart from all the other female singer-songwriters of the 90s (Sarah McLaughlin, Paula Cole, etc.). The only exception is the "Central Reservation - The Then Again Version". If the whole album was more like this, I could see including it here as a 1999 release.
Some beautiful sweet sad songs on here, but really dragged in the second half. Opening track was the best
Pleasant album that might work its way to a 4 with additional listens.
First listen: opens with two 5 minute plus songs. Not sure they’re interesting enough to be that long. Lots of slow to medium songs that go on for a minute or more too long. Nothing really stands out. And when I have no desire to give it a second listen, 2 stars it is.
73
неплохой женский фолк
Listened to this several times over the past few years. Totally don't remember it at all. Each song is nice, but completely forgettable. 3/5
Central Reservation, 1999 auf Heavenly Records veröffentlicht, ist das dritte Album der englischen Songwriterin Beth Orton und der Moment, in dem sich ihr Folktronica-Ansatz endgültig festigt. Aufgenommen an sechs verschiedenen Orten – darunter The Church, September Sound, RAK, Olympic, Little Joey's und The Garden Shed – trägt das Album eine gewisse Rastlosigkeit in sich, die sich aber nie in Beliebigkeit auflöst. Mehrere Produzenten, darunter Ben Watt und Victor Van Vugt, formen den Klang mit, ohne dass Ortons eigene Handschrift verloren geht. Was das Album trägt, ist die Reibung zwischen akustischer Intimität und elektronischer Textur. Songs wie „Stolen Car" und „Sweetest Decline" balancieren Folk-Gitarre und Downtempo-Beats so selbstverständlich, dass man die Naht kaum hört. Der Titeltrack „Central Reservation" existiert gleich in zwei Versionen auf dem Album – eine akustische und eine elektronisch aufgeladene – und macht damit die Doppelnatur des gesamten Werks fast programmatisch sichtbar. Gerade in den ruhigeren Momenten, etwa bei „Pass in Time", zeigt sich Ortons eigentliche Stärke: eine Stimme, die Verletzlichkeit nie ausstellt, sondern einfach zulässt. Das Album verzichtet auf große Gesten und gewinnt genau dadurch an Substanz. Central Reservation bleibt ein Album, das seine Zerbrechlichkeit nicht verstecken muss, weil sie sein eigentliches Fundament ist.
If we're going based on Spotify numbers, Beth Orrin seems relatively unheard of besides the first song on here. I wonder if it was in a movie or something. It's cool that there are some niche artists on this list. This album has a lot going for it, including diverse instrumentation (vibraphones, string sections, hand percussion, Timpanis on "So Much More," etc.) and a lead singer with a beautiful voice. She's got that inflection in her voice that you hear in Celtic and English folk music. Furthermore, the album ended up having more depth than the well-made but not too unexpected 90s indie/folk rock album I initially pinned it to be. I like the 6/8(?) groove on "Pass in Time." Several songs used break beats that were very 90s but helped balance out the more folk-inspired songs. The dance track at the end was a nice touch. Strong 3
Funny, I listened, not too long ago, to this album, from 1999, and to its predecessor, "Trailer Park," from 1996, both of which I still own (for now -- but read on), and both of which have survived previous CD purges (by me - having purchased too many CDs in the 90s and early 2000s, lol). With my newly acquired 1001generator CD-evaluating skills, however (combined with ongoing determination to cull my CD collection), I have decided that I can get rid of this one, and keep only "Trailer Park," which I think I slightly prefer. They're both good -- high quality -- overall, but also have a slight tendency (for me, anyway), to escape my attention, and recede (not unpleasantly) into the background: high-quality wallpaper music, if you will. Listening today to "Central Reservation," I had to struggle to pay attention, to keep it mind. And so, given my still overly large CD collection, I think I can live with getting rid of this one, and keeping its predecessor (if one of you would like to have this CD, please lemme know). But, now, I still need to rate it. It's clearly at least a 3. But also, almost as clearly, not a 5, for me. So, for me, this is either 3 or 4 stars but, since - on further reflection - 3 feels too low, this has to be a 4-star album, for me. Funny to think that these 2 CDs are 25 - 30 years old now. In some ways, for me, they still have a (now somewhat faded) sheen of being fresh and new and hip and cutting-edge. But I also, I think, detect at least the first hints (maybe more so, for you 2, since you're younger?) of this having started to become -- to sound -- just a little bit dated? Tempus fugit, and all things must pass, etc., etc., blah blah blah.
I'm surprised that this sounds very late 90s-early 00s to me, because I wouldn't have known how to describe that before listening. There's something in the vocal inflection that's of that time, which I don't like, but I do like her as a vocalist generally. It's also the very laid back, as other people are saying "beige" sound, and break beats that make it sound of that time. I hear some Radiohead influence. All of that adds to the point that it's not a very unique album. There's a lack of risk-taking or personality. On the plus side, there is variety and it's not an unpleasant listen
Why are all of the dullest albums on this list at least an hour long?
I like some of the trip-hop tracks. The others are a bit 90s/00s romcom movie
good
Kinda pretty, but very 90’s sounding. Not bad. Not that great either.
Decent singer/songwriter album, enjoyable listen
dosta dobar vajb te stoga dosta ugodno slušanje. sviđa mi se glas. no nije me nešto oborilo s nogu, nekako mi stremi visokoj trojci... da, dat ću na kraju trojku, no možda se koji put odlučim ovom vratiti, pa mudrije procijenim...
didn't know what to expect but this is really really nice late 90's vibe. Just good peaceful 90's vibes. This probably played in the year I was born and years I was a baby and somehow I feel like I can tell. Really good guitary singer songwriter and great lyrics throughout. Could be on smalleville for sure. 8.4 Favourite trakcs: - Pass in Time - Blood Red River - Love like Laughter - Feel to Believe
My genre wheelhouse and the vocals are good as is some of the instrumentation - a bit plaintive, maybe.
Great record, worth your time.
There are two versions of the same song on this album. Like all songs, it was so forgettable that I forgot anything about how it sounded when it came around the second time. Just awful.
Stolen Car is pretty awesome, it rocks and she has such a pretty voice. The whole album has this airy quality to it, it really shows in So Much More. The soulfulness in Pass in Time.
Beth Orton was a pleasant surprise.
gorgeous
Never heard of this lady before, she has a really lovely voice though and this was very enjoyable listen on my way to work. To bad it's a bit too long and I didn't manage to finish it. But I might do so after work, probably around 3 stars as well.
Good though same-y may require further listening to fully appreciated.
I really enjoyed this one, but it started running a bit long at the end.
I already had this album saved in my library. That happens only for good reason. I do not remember what that reason was and spinning this one I do not hear one now. I mean, I don’t hate it. And there’s plenty of assocs & collabs that support that decision, whenever it occurred. It’s a particular mood perhaps & I just wasn’t there yesterday. 3 stars
I can appreciate the talent that went into this but I think this is an instance of an album that is well made but just not appealing to me for whatever reason. If I had listened to this after a relative died it probably would've made me cry.
Erfrüschend und was neus Aber halt au z wenig guet zum mich us de söcke z haue 3
See album polnud mulle ei ebameeldiv ega meeldiv, väga mittemidagiütlev. Jah, kuulamist raskendas minu kõrval istuv väga vali kinnisvaraärimees, aga isegi siis kui ma proovisin keskenduda, ei hakkanud mulle midagi kõrva. Ma ei tahaks 2 anda, sest see tundub karm, aga 3 on kuidagi palju öeldud.
7/10 – Good
Another nameless faceless nobody that I expected little from but was pleasantly surprised at how inoffensive it was. It was neither annoying nor pretentious and just good really.
Beth Orton is awesome. What a voice. What songs. But this album is worth buying just for the Ben Harper guitar solo alone. I can see everyone's faces melting in the recording studio when that slide guitar starts playing.
music is love
Love all the little sonic details sprinkled throughout. Also such a killer opening track
I went into this with pretty low expectations and I absolutely loved this album! The production was fantastic and Beth Orton's voice beautifully carries the album. Things like this are what makes this challenge worth it, I would have never thought a late nineties folktronica singer-songwriter I had never heard of would be getting 5 stars, but hey the album just really clicked. Enjoyed it from start to finish. Only downside is that vinyl records of this album are not affordable ⭐️⭐️⭐️⭐️⭐️
I really tried, but I just don't like her voice.
I fell in love with the cover of the album. It almost tells the story of an age long gone. It is really cinematic. For some reason this raised my imaginary expectations. I also had the feeling that it wouldn't live up to them. I am happy to report that I was wrong and Orton RKOd me out of nowhere. This is a truly excellent piece of contemporary art. It really managed to capture existential longing and alienation. The sound was layered and different elements elevated it to another level. It intelligently mixes acoustic folk with electronica and it creates this modern but almost timeless sound. The atmosphere it creates even feels like trip-hop at times. The result is something original that stands out. Then there's the songwriting. The songs are personal, vulnerable and raw. Some of them may have benefited from being a bit shorter than the project grips you from the start and never lets go. I loved "Stolen Car", "So Much More" and "Stars All Seem to Weep".
Why did women start singing like this in the 90s? Is it like a Shania Twain thing? I guess it's no worse than Bob Dylan but it has worse PR. Devil Song was pretty good but mostly was just waiting for the album to end.
This is definitely a stronger album in the first half, but it's still pretty solid throughout, it's just that the songs near the end got a bit too slow for my liking. Still though, she's got a good and unique voice that I liked, and the instrumentals (while they could have been louder) were really engaging too, so much to the point that I didn't really care that there weren't really any big choruses in any of the songs, the melodies were just consistent and fun to vibe along to. 3.5/5
Some standout songs and some scratchy songs. The everything but the girl production is excellent on some tracks and are dying for a ambient dnb remix 3/5 1 star = poor 2 stars = average 3 stars = good 4 stars = excellent 5 stars = perfect
This one didn’t land for me.
Little bit of Ricky Lee Jones with a light dash of cranberries. Maybe some inspiration for Nora Jones?
I liked her voice but not on these songs. Too slow and boring overall for me.
I like her voice but didn’t find the music itself very interesting. Not something I’ll rush to revisit
She's talented, but it's just not my cup of tea personally.
This was captivating and it made me feel nostalgic
lindo, muy chill
I thought this was brand new to me but apparently I have liked Stolen Car before on Spotify so I suppose I must have heard it at some point. The whole album will be new and I don't remember Stolen Car off the top of my head so it might as well be new. It is pretty generic. Goes the same direction as a bunch of other adult contemporary stuff from the time - Sarah McLachlan, Jewel, kd lang, maybe Paula Cole. But not as well done as any of those. And not as unique either. It's fine. Nothing to sway you one way or the other. 2.5/5
Certainly unique in its folksy etherealness. It resists the tropes of “adult alternative” and has its own style. Beth owes a beer to Mary Margaret O’Hara, I think. One of the CDs my mom had growing up.
I enjoyed this, felt very of it's time but in a nice nostalgic way. Very listenable.
Excited to get an artist I had never heard of before. Extremely disappointed by the results. So boring.
A bowl of “yep, that’s mostly kinda ok”
3.49 sterne
3 stars, -1 for being extremely forgettable. Turn this on in any Starbucks in America and it wouldn’t sound out of place
This was a pleasant album. Great to finally get to another woman on this list; I enjoyed my listen though I can't say it left a lasting mark. There were a couple tracks that were a bit odd compositionally and several were over the six minute mark, which I mean I listen to prog so isn't a bad thing but just felt like an odd choice. Overall I liked it.
Instantly forgettable.
Have I listened to this album before No How familiar am I with this album Completely unfamiliar How do I feel about this artist? I don't know her at all Pre-Listen Thoughts: I'm sure this will be pleasant enough. probably 3 or 4 stars. Favorite track(s): Feel to Believe, Stars All Seem to Weep Post-Listen Thoughts: I liked this one. She reminds me of Dido or the Cranberries.
This is not unenjoyable and Orton’s use of producers is a very comfy fit (an entire project with Ben Watt would’ve been a treat). Alas, as much as I enjoy her voice and contributions to the Chemical Brothers, I never gravitated towards this material.
Beth Orton - one of only 3 women to ever turn Len Houmous down. 3.9 1/12 Stolen Car
gostei bastante da vibde do album, da mistura de generos. realmente me pegou. talevz eu venha revisitar nota 6,5
This record was okay. This has a mix of boring and interesting sounds. Favourite Track(s): Feel to Believe Least Favourite Track(s): Devil Song, So Much Move, Stars All Seem to Weep
Absolutamente lindo. Linda voz e lindas composições. Tudo simples, sem alarmes e sem surpresas, mas supremamente satisfatório e aconchegante. Disco maravilhoso. Obrigado. 5/5
2 stars
I liked the album at first. A powerful voice. Overall, the album would have benefited from being a little shorter. It got a bit annoying toward the end. 3/5
It’s good
No notes
I really like the opening track but this is a standout track compared to the tedium that follows.
Yep, haven’t listened for years and it’s still the same. A belting opening song, and then it’s all nice but not that exciting from then on.
A good album. Would take a few listens to decide if it is worthy to be in the 1001
Favourite Songs: Stars All Seem To Weep Central Reservation
Day 322 Enjoyed this a lot, few songs went on a bit long but a really interesting album. Highlights Stolen Car Blood Red River Central Reservation
Enjoyed this in a girly emotional way. Her voice has grown on me and some of these songs are beautifully written. Have to be in the right mood but may well revisit.
This was pleasant, but also no chance I put it back on. 2 stars it is.
Forgettable, but I enjoyed the 90s vibes
Stolen Car is a fantastic track and her best by far. Ben Harper’s slide guitar takes it to the next level. The rest of the album—which I own—needs more of a pulse and less musical monotony. But she’s great and this album is pretty good. The more you listen, the more you discover.
Sounded weirdly familiar
Decent, female vocalist, ticking boxes
Not bad but very forgettable
Not my thing but easy to listen to.
this is a tricky one. her voice is great and what i picked up of the lyrics is good but the instrumentals are very hit or miss for me. i'm less into the "folk" ones generally, but the tracks where she leans harder to the "tronica" side fuck hard. as such, "stars all seem to weep" stands miles above the rest of the album to me with that borderline trip-hop backing. "central reservation (the then again version)" is good too, even it does have an intensely 90s feel to it. it's not that the rest is necessarily bad, like, i enjoyed "stolen car" and "central reservation (original version)" well enough. but the more electronic focused tracks are just hitting so much harder for me. i know i keep saying albums could be a 4 with more listens but with this one especially i really do feel like just one more particularly well-timed listen of this could get it there. but for now...... its another 3.
Grew up with a lounge/chillout compilation album featuring a couple mixes of her songs so the "folktronica" genre is pretty nostalgic to me. The songs are varied, her singing sincere, and the instrumentals are smooth and catchy. The mix at the end is a nice touch. I might be a little biased since it's been 100 albums since we've had a 90s female vocalist but it was a real fresh breath of air.
I just finished listening to Central Reservation and I can’t remember a single part of it.
In no way a hate two star. On par with Alanis. I have been unfair to Alanis.
She has a nice voice and it makes for a pleasant listen. But in a few weeks I will have forgotten this album exists
inconsistent singing, suspect enunciation, okay arrangements, mostly nothing much
No opinion. Not great, but not bad either.
I like her singing voice. And her haircut
Thought the fist two songs were gorgeous, and then the rest were increasingly samey. She has a killer voice tho!
Very enjoyable... somehow I've gone this century without really being aware of Beth Orton beyond a name and a haircut. Not what I was expecting, a very pleasant surprise.
Gear: Dunu SA6 Artwork: 👨🦱😏👚 Production: 🤨👍🆗 Music: 🎶😖🏳️ Rating: 🚇/5
A pleasant album but nothing special.
I had completely forgotten about this lovely album, and really enjoyed revisiting it. Those reviewers with nothing better to say about this sort of album than "boring" really need to grow up.
I LOVE this, it's like the incredibly atmospheric downtempo beats from something like EBTG, but paired with emotionally charged lyricism and vocals that remind me of folk singers such as Nick Drake or B&S. An inspired combination of genres, and a terrific album in my opinion.
I had this on CD but haven't listened in years and forgot how good it is. It's less "folktronica" than her earlier stuff and more straightforward folk rock. I absolutely love the title song (both versions,), "Stolen Car," and "Pass in Time" which is straight out of the British folk tradition with great backing vocals from Terry Callier. But there are a bunch of great songs on this and it doesn't drag in the least. Love her voice and songwriting and I'm thankful for her inclusion on the list.
This is a really lovely album. Reminds me of a Laura Marling record, in the way that its very relaxing to listen to but never boring. A few songs, like Pass in Time, even have a vintage Fairport Convention feel
ack...
Verrrry 90s.
a bit Lilith Fair
I think I need a few listens to absorb this properly
I wasnt familiar with Beth Orton going into this album. I enjoyed it- she has a great voice and her songs have a lot of emotion. Overall- 3.5/5
15/06/2026 An average album....a solid 3 on the average scale. Spotify listeners: 261.8k
Bastante decente.
Nothing to object to, but also nothing to move me.
"Stars All Seem to Weep" standout song, maybe because does not sing a lot? Rest of the album is mid. Low 3*, nevermind: 2* 2/5
War erst begeistert und vermutete eine Neuentdeckung, hat mich dann aber so im dritten Viertel gelangweilt. Werde aber mal andere Alben von ihr ausprobieren.
She has such an interesting voice.
Too low tempo for me. I know she featured on Chemical Brothers
Not for me Tried a couple of songs, found it extremely boring. Turned it off and put on Spilt Milk by Jellyfish instead. Favourite track: New Mistake (by Jellyfish)
Not bad, pretty unobjectionable, but kind of boring background music TBH.
Brit folk that sticks to the middle of the road.
Fine. Sofr rock boring
Is important.
I don’t know if I had heard of Beth Orton before this. She has a great voice but it did feel a little repetitive after a bit.
Nice easy listening
Not bad
Not my jams but not bad.
'& I've lost the line between right or wrong / I just want to find the place where I belong.' A bit affected perhaps, Beth Orton reminds me some of Beth Gibbons, the lead singer of Portishead, tho the folk-country version, not the jazz-cabaret edition. But there's a lovingness involved, something that tells me it's all for the right reasons. '& I'm always walking down the escalator / The up way.' A beauty too, a simple, go-to beauty, one fulfilling & purifying, especially 'Pass in Time.'
ta buena
I had only really heard stuff from her from when she worked with Andrew Weatherall and the big beat guys from the 90s - hadn't paid much attention to it otherwise. Her voice is like a big comfy hug from a warm blanket. The instrumentation and production is lovely. Beth slays
I'm vaguely aware of this artist, but I don't think I recognize any of the tracks on this album by title. This is my first time listening to this album start-to-finish. At times, this reminds me a bit of Joni Mitchell. Unfortunately, Joni's just not really my thing, and I'm feeling the same about this album. It's not bad, but I find myself wondering why this is on the list.
I didn't expect to like this, but it's very listenable. Not sing in the shower stuff, but very much the kind of thing you play in the car.
I thought for sure this would be a five during Stolen Car and then everything slowed down, turned into a coffee shop album. A good one, sure, but every time I get an album that starts out strong and then drops right away it's hard to recover that momentum.
its very nineties. too nineties. it started out strong, wasnt as empty with clean easy riffs. didnt have that open chord note picking feel. back half lost me completely. cheesy keyboard synths, airy and breathless, and so much clean nineties guitar. yuck. shes got a lovely voice to pair with the music, though.
I'm sure it's very nice but I just found it a bit boring. Sorry Beth
I got my license the summer 99. As such I heard Central Reservation too many times to count as I listened to the alt radio station and drove through the wilds of Western New York. Now I want to smoke a Camel Red and think about a pre-9/11 proto paradise.
I like Beth Orton, so enjoyed the album. Plus when she's good, she's very good. Some great tracks, especially the opener.
Was leaning towards a 4 star for this album but it lost me about halfway through. I was familiar with Central Reservation (the remixed version towards the end of the album) which happened to be on the Bounce soundtrack (had to dig through my iTunes library to figure that one out) - really like that song and a few of the songs on the first half of the album. (3)
Unexpected gem. Unfamiliar with Beth Orton prior to this. Superb songwriting, powerful vocals. And a new album out this year to boot too.
This is fine. Beth Orton's music never really does what I want or hope -- the "folktronica" tag kinda oversells what is relatively safe, anodyne singer-songwriter music. I like some moments, and the overall vibe is nice, but I'm generally underwhelmed and left wanting something edgier or more experimental.
Yeesh...
Hermosa voz de la gurisa, me hace acordar a la de the cranberries.
Un album somme toute très répétitif, sauf pour le passage expéditif de Dido, qu'on salue. Quelques moments mélodieux et beaux, des mélodies sympa au début, mais finalement assez redondantes. Une voix assez agaçante à force, et je dois avouer que comme pour beaucoup d'albums jusqu'à présent, je me réjouissais que ça se termine.
To be honest, just sounded like every other singer songwriter, but not as good
Pretty vanilla singer/songwriter naughties music. Can't say it's drawn me in really.
Nice voice, a few good songs but largely not my thing
Was okay! Not my thing completely but she has a great voice!
ze begon als een vrouwelijke Neil Young, maar dat veranderde rap in de vrouwelijke Tom Yorke... jammer
sehr schön!
Good
some nice background music for me. didn't really get a chance to dig into the lyrics, but i enjoyed it 4 stars
172. ok
Not a fan
I liked “Love Like Laughter” and the rest was inoffensive and mild.
Oh not sure? That makes me nervous, honestly… Man, this album took me on a ride. It opened and I thought “wow, I might have been judgy going in. Shit, this may be a 4.” Then it went on and I started to get bored and I was “no, 3, not higher than a 3.” But I had to admit the percussion was well layered. So maybe a 4…But… then I began to feel in that layering -overproduction. And by the time the dub came in I was fully convinced it was overproduced. And my rating was heading toward a 2. By the end I was solid in my 2. And fully asking the eternal question: What the f* is this- Mercury Prize Finalist -doing on the damn list? She did not even win the Mercury Prize for 2000. So even by British standards- what, what is this doing here?!? Time wasting! Boolean- NO! I did not need to hear this before I died, thank you.
It’s all about Orton’s incredible vocals. The music is an afterthought. I love the quality of her voice. And Stolen Car is awesome song!
Good album. I tend to get annoyed with the singer-songwriter genre but this was worth the listen.
This album gets off to a great start with Stolen Car, which is a high energy song with great instrumentation and lyrics. The rest of the album, though... It's not bad at all, just feels kind of underwhelming after that. I think I would like it a bit more with the tracks rearranged so Stolen Car gets a bit more build. That said, the writing and singing I this album is all still very good.
Dreamy!
very relaxing
Nice vibe. Mellow. But not dull. Folktronica apparently. More folk than electronic I thought (Stars All Seem To Weep an exception- quite EBTG like - the Ben Watt involvement is clear). Great voice. Liked Sweetest Decline, Pass in Time, Blood Red River - though not really any duff tracks. Strong 4.
I found it a bit samey to be honest
Very nice sounding- a little Van M in parts although on the whole I think the slightly more expansive and dubby Trailer Park edges this one out. Enjoyed the vibraphones throughout.
Very listenable without giving me any “wow” factor. It’s it’s one I could easily revisit
Franchement mignon, mais un peu boring Quand même content de l’écouter : 3/5 Couldn’t cause me harm : a un peu vieilli mais c’est joli et inspire la nostalgie C’est quand même assez répétitif, et sur une heure en plus ! Malgré tout je suis quand même content au début de chaque chanson, l’écoute est agréable Pass in Time : sympa avec un deuxième chanteur dont la voix nous surprend positivement Pareil, stars All seem to weep résume l’album : franchement jolie mais pue vraiment les sons des fin 90 début 2000. Je pense que la voix de la chanteuse ne se distingue pas beaucoup aussi Marrant : la répartition des notes sur TAG est exactement en pyramide
It's a lovely album, but aside from "Stolen Car" and the title track it didn't do all that much for me. The former song is one that I've liked for quite a while, and I was a little disappointed that the rest of the album didn't feel as special as that track. I would happily listen again, but I think I would have to be in just the right mood for this album to make a big impact on me. Favorite track: "Stolen Car"
big 3
dios me encanta cuando los cantantes son mujeres alternas, el álbum me gustó pero cambia mucho el flow del primer tema al resto
😴
Mildly pleasant to listen to, but pretty forgettable.
very folky and then some song hit you with a very produced electronic vibe. sometimes works well. its something that feels like my mom would play in the car when i was little, and because of that im inclined to like it.
Boring
Musically, it's a tepid bowl of oatmeal. But the music is an afterthought, right? It isn't the point. She's in a class with Nick Drake, Jackson Browne, Carole King, James Taylor, Sarah McLachlan. . . : lyricists heralded for their emotional depth and sensitivity for whom music seems like a vehicle; a logistic to be attended to rather than a magical universe to be explored. What really bugs me about this lot, though, is that their lyrics always come across as humorless and overly-earnest self-absorption; like the worst people to get stuck sitting next to at a dinner party.
Better than I expected
This was incredible. Beth was forlorn af
It’s good.
What sensual sumptuous perfection this enormous velvet cushion of on album this is. I feel the myelin sheaths on my jangled nerves firming up, and my telomeres are lengthening. Oh, thank you! A wonderful reminder of a cherished and well worn album in my CD collection which hasn't seen the light of day in a decade. If music were a drug (it is, let's be honest) then this is surely what people seek when CBD, Special K, X and others are assiduously procured and layered. Yes some music and art is there just to sooth (I will save you the quote). This one does and with a signature flourish and lilt that is altogether Beth. (at the time we also called of the artist Jewel to sooth, and also Portishead, Natalie Merchant, Cowboy Junkies (this one feels related somehow) , Mazzy Star... all different but serving a similar purpose, ). So good to hear it again. This album has healing properties. Im sure it life extending. But artistically surpasses anything I remember. My speakers are much better today! The clarity and detail of the vocals and instrumentation is a surprise. This isn't just a nostalgic swoon. (and yet, I'd say most of my friends and contemporaries have owned a copy of this album. If they had taste) What a wonderful joy it is to hear the sweeping, warm, joyous floating sounds of the inner inimitable Beth Orton. She's like an Angel coming to tuck us in at the end of a long day, under a perfectly cool or warm blanket and tell us the golden hour will go on forever, and that our friendships and loves will never change, so its okay to just lie down, right here where we are, carefree, on the nature strip (the Australian term for central reservation), what is there not to love? Plus it recalls friendships and good times. I'm pretty sure everyone I know in my 1990s cohort loves this album (if would be freakish if they didn't know it). It goes well with Wine etc... often played on romantic evenings, and at the hookup end of parties, its like a sweeping soundtrack, and it keeps rising like arousal, my breast swell as she says “it all right” - oh the way she calls me “darling” - I don't know if I am more aroused or sated. Shaking myself awake... I am Curious. How do others respond? Will other generations get it on the first listen as we did, or was it a time and space moment? On easy 5.
Beth in her pomp. This and Trailer Park are her best work, and this one is underpinned by some great songwriting. I saw her at a BDO in 2000 and she was superb, an amazing voice. I'm not really sure why she described as "folk", probably a record label thing, but this is really worth a good solid listen, great record.
I think I am in the wrong mood today to enjoy this. I have always enjoyed Beth Orton's voice when she pops up to do a guest vocal (notably for William Orbit, Chemical Brothers, Beck, Ryan Adams, Bert Jansch! various tribute albums, etc) -- her voice has character which lifts whatever she sings on. But today I am grumpy and this didn't click for me. The backing tracks seem underwhelming and dated, the songwriting feels repetitive and a little lackluster. But I think this is just how I am feeling today. I have enough respect for Ms Orton's talents that this album would strike me differently on a different day. I am going to rate this 3 today, with a note to self to revisit this in the future.
don't really have anythiung to say about it
Really grew on me as I listened, some solid songwriting, nothing overly exiting, but solid
It's very Dido, very Cranberries...wonder why the fame never happened in yhe same way for her
I mean it is not as bad as I thought it was going to be. But not great either 4/10 Top song Stolen car
got bored, good background music tho. all kinda just sound the same.
I liked the overall vibe without really loving any particular song
I’m pleasantly surprised by this. Like it a lot. Florence & The Machine vibes
Solid
Another long time favorite, this is a great album. I love Orton's voice here. Trailer Park and Daybreaker are also amazing.
Deadly dull.
Liked it
Chill
Fue muy meh, ni malo ni bueno
2.5 Started off fine, got boring
I never heard of her before. Not a bad album, it has its moments. Still, nothing I would come back to.
Categorized as rock? Nah, maybe pop or adult alternative. Similar to Paula Cole, Sarah McLachlan or Sinead O’Connor. Enjoyed it.
Оч понравился!!! Особенно овердабчики скрипочки стуки ваще все кайф
Periaatteessa ihan ok, mutta taas liian iisiä musaa mulle. Tää sopis johonkin rauhalliseen hetkeen taustalle.
gillade!
I really enjoyed this album, which is a new record to me. It has a very David Gray vibe to it, and while it sounds rooted in late 90’s / early 2000’s singer songwriter music it doesn’t sound outdated listening to it 27 years after its release. Big fan of the title track and Stolen Car, but found it to be a solid, well crafted album from start to finish.
When it first came on I thought I knew this album. As I listened more, I realized I was mistaking her for Natalie Merchant/10K Maniacs with a touch of Suzanne Vega style song writing mixed in. This fact made it hard for me to rate because I am so familiar with those other artists who predated her. There are good songs here such as Central Reservation, the title track, and Stolen Car, but they lack the original sound, and seem kind of copy cat-ish. The biggest difference is the other two artists are more staccato and less legato, which makes the lyrics easier to hear. If there was a 2.5, she would probably sit in that pocket.
Random thoughts: * I definitely remember Beth Orton and this album from the 90s but can't say I ever really listened to it. * It was less grunge than I thought it was. It wasn't grunge at all. It's way more indie. * I really liked it overall. I could see how this album is like a cozy blanket. And if it was worn in and well known, I could see how soothing getting covered by this cozy blanket would be. * I plan on listening to this one again some cozy weekend morning. Feels like it would be a good listen then.
Actually quite liked it, I'll give it 4 so I don't forget it but I might bump it down after a re-listen
This has a certain groove in some tracks. Others I struggle with, they just don't grab me. I liked "Couldn't Cause me Harm," For example. Pretty slow acoustic whiney for me. 2/5
Pretty good stuff.
It's very late 90s, solo female music. But I'm kinda here for it. There's a lot of nice little touches that definitely makes it a step above a lot of the other names of that time.
First time hearing Beth Orton and I liked it. A pretty relaxing listen on an Autumn Sunday while the rest of the gousebis still asleep
Great voice!! Also, nice juxtaposition of acoustic guitar with electronics.
Mundane. Lovely voice, but the song choices were crap.
I didn't know her at all. She has got a beautiful voice. I liked the first and last song but found the rest so unremarkable that I couldn't focus on it (basically I didn't hear it)
eh.
This one really tested my resolve to listen to every album in full…just really not my thing. The very last song almost saved a star…almost.
Crikey that was dull.
a bid reserved indeed but something new and something nice
está guay, rollo música de Magnolia de PTA
Strong strong start, but a little too same same in the middle. Needed a change of pace or mood to help it along.
I'm sure this has value to others. I found it boring. Pretty, but dull.
= the Beatles
Solid album. Really enjoyed her voice. A lot of similarities to Dido, but just similarities. Beth Orton is definitely her own artis with a solid voice. I look forward to listening to more of her.
It was interesting pretty good
3 1/2
Demasiado abajo y parecidas
This is better then I thought but it’s maybe a bit too long. I was quite surprised by how good they he opener was compared to the rest of the album.
This album will always remind me of my first year living in the city. $0 in the bank, mostly not a care in the world. Getting that first job and feeling like I won the lottery every two weeks. Discovering the city and always on the hunt for music. I bought this down in St. Marks Place and its newness vibed with mine.
i went on a walk, it rained on me and then i saw a rainbow. i was high the whole time
Wonderful.
yasssss my favourite microcelebrity
Bad
I listened to this a lot when it came out. I didnt love it as much as I remember.
Reminds me of a gentle linken park, especially the first song stolen car, her instrumentals are so sweet prototype pehobe bridgers
Awesome.
I've never heard of this artist but i actually really enjoyed the album. it's a slower paced kinda chill vibe. for sure had like the 90s indie folk girl vibes that i do like from the time. some songs were really good while some where just kinda meh. overall i did enjoy this though!
Didn't mind this in the end. I thought her vocals were beautiful and the playing matched the energy of the album. 3/5 Probably won't listen again
Interesting album to get on my birthday. Two friends of mine joined Beth Orton’s band a few years ago, so I actually got a chance to meet her briefly when they played the Bowery Ballroom. She was super friendly. I’d never heard her music prior, so it was interesting to see such a dedicated crowd like 20-odd years on from when Central Reservation came out, knowing all the words and really getting into it. Listening now, she strikes me as a nineties Joni Mitchell. Some of this is super dreamy and peaceful. Nice and relaxing for a quiet day.
Enough variance in style to keep it from feeling samey, but the little breath she adds after every vowel is annoying
Lovely.
Музыкально исполнено неплохо, но вокально очень скучно
This is a cool project. Relatively diverse for a singer-songwriter album. I don't love all of it, but I appreciate the directions it takes. I tend to think there is too much filler on this album, especially in the back half where most of the b side gets same-y and boring. And considering that it's too long anyway, she could have cut those 15 minutes or so of filler had had 43 great minutes instead. Unfortunate. Sticks the landing though. 3.2/5
mmmm good
Not for me
post-apocalyptic folk, maybe? at the end of side 1 and every song has blended together into an indistinguishable blur of [___] vocals, strummed guitar and mild string backups. the only reason i know it's halfway is that i happened to check spotify. oohhhh this track has a *drum machine beat* i can't this is too boring 1/5
Not really my thing.
In isolation, these are fine tracks - characterised by a beautiful voice and mellow arrangements - that easily earn three or four stars each. But taken as a whole, the album's consistently downbeat tone becomes a hurdle. Spanning nearly sixty minutes, the lack of variation meant my engagement dipped during the latter half. Three stars. 1 "Stolen Car" (4/5) 2 "Sweetest Decline" (4/5) 3 "Couldn't Cause Me Harm" (4/5) 4 "So Much More" (3/5) 5 "Pass in Time" (3/5) 6 "Central Reservation" (3/5) 7 "Stars All Seem To Weep" (3/5) 8 "Love Like Laughter" (3/5) 9 "Blood Red River" (2/5) 10 "Devil Song" (3/5) 11 "Feel to Believe" (4/5) 12 "Central Reservation" (The Then Again Version) (3/5) Total - 39 Average - 3.25 300/1001 162/300 albums reviewed were new to me
Beautifully background
The most beige generic coffee shop music. Very background music-y and never gained my interest
I actually really enjoyed this one - Beth voice was very nice and enjoyed the accent.
I really enjoyed this! I had heard the name before, but had no idea what Beth Orton was about. A surprise five is probably the top tier win in this mission. This album felt like a weekend morning in the sun chilling and vibing with the women in my life. Tasting notes of traditional folk, Joni Mitchell, Bran Van 3000, and trip hop. Fun!
Den här jävla sångfraseringen ”HEEE HEEE HEEEE” i slutet på varje mening, ibland varje ord, ibland MITT I ETT ORD?! ”Ange-hee-heel”. Blir galen. Vet att hon vill att jag ska känna känslor, men är död inombords. Så satans daterat brittiskt piss, återigen. Så kommer lite everything but a girl-electronica där i mitten. Vem fan pallar det en längre stund? Har skittråkigt.
Nice start. Njöt ändå en del, men andra halvan var mindre bra alltså. Hade riktigt svårt för några av låtarna där.
jag vet inte vad jag tycker och jag är trött så jag ger
Eh
5/10 I was pretty interested to give this one a spin. With the marketing of Beth Orton as “folktronica”, a blend of trip-hop and acoustic folk music, I was hoping for something along the lines of Múm or Bon Iver, the kind of thing that sits right in my wheelhouse. Unfortunately, this record leans toward the more poppy side of the ledger and doesn’t completely satisfy either the singer-songwriter or the electronic aesthetic particularly successfully either. It’s also incredibly late 90’s sounding, which I don’t think really helps its staying power. With that being said, there’s not anything inherently bad about any of it, but it just feels a little bit bland, and often lacks any notable hooks or memorable moments. It’s also a bit tonally muddled, with a bunch of the tracks seeming to have the electronic elements added in a slightly forceful way that doesn’t actually gel all that well with the core song. To my ear, the better of the songs tended to actually be the more acoustically focused ones, and it feels a bit like this was produced to capture the sound of the moment, rather than with any specific intention as part of the production style. Beth is a decent singer, but there are places where the slightly whispery indie-girl nature of her voice grated, and even some points where her tuning seemed to be a little off, or she struggled with the transition to falsetto, on the odd occasion that she sang in that range. The production was a little patchy too, with some elements dominating unnecessary and some less than deft tonal blends causing some slightly sharp edges to the experience. It was pretty decent background music though, and there was the odd moment where my interest was piqued a little more, but when it comes down to it, there just wasn’t enough substance in there to bring me back to this one. Stolen Car - A pretty pleasant start. I find the cello parts a little overwrought, but the rest of the instrumentation is solid if unspectacular and her vocal is delivered with strength, with some nice melodic and harmonic moments. Some of the production elements seem a little forced, like it’s attempting to force the electronic nature of the sound a little too much, when it would probably have worked as well, if not better as a more straight folk rock track. Sweetest Decline - This is nice too. It’s an engaging little ramble of a track in which the slightly roaming nature seems to be an intentional device in the songwriting. There’s quite a few intertwining instrumental parts layered in, and there’s a slightly jazzy edge, particularly to the piano, which I like. Occasionally her vocal soars above the track which pulls your focus and then things drift back into the gentle, pretty breeze of the track. Couldn't Cause Me Harm - This one leans a little more into the electronic edge. It reminds me quite a bit of Pure Shores by All Saints, which was written by William Orbit, who worked on Beth’s previous album. Strange coincidence, or deliberate inspiration? This is, again, nice enough. It’s not the most memorable or engaging, but the vibe is chilled and it’s got a pleasing tonal mix with a bit of grit thrown in under the cleaner surface. So Much More - There’s a similar lilting vibe to this, but it’s more sparse. Melodically, it’s a little meandering and it feels like there’s not a vast amount to grab on to here. The layered vocal parts are quite cool, and there’s some decent piano work in here, but ultimately, it feels a bit on the bland and unfocused side, and again, there are bits of the electronic production that feel a bit tacked on rather than integral to the song. Pass In Time - Well this is a long one. I don’t know if it’s her slightly wavering vocal style here, but there are times where she sounds like she doesn’t quite get everything in tune, which is a little off putting. I don’t really like Terry Callier’s backing vocal either and find that they jar against each other a bit. As a whole, there’s not really enough in this to justify the track length and while the underlying vibe is ok, the vocals just don’t work for me at all. Central Reservation (Original Version) - Holy reverb Batman. Quite a few odd production decisions in here. The saturated electric guitar part is too loud and jars a bit with the softness of the rest of the production, and her vocal is absolutely soaked in reverb and she delivers it with a semi-slurred delivery of which I’m not the biggest fan. As with much of the record, this is a calm and pleasant background listen, and there are a couple of moments in the melody that caught my ear, but it’s also quite meandering in places, and there’s probably not anything particularly memorable in there that makes me want to return. It felt like it was building to something that never really arrived. Stars All Seem To Weep - Now we get to a more trip-hop edged beat that I was expecting with the description “folktronica” that’s attributed to Beth Orton. goes. This is another pleasant background music track that sounds incredibly late 90s, but doesn’t really stand out in any way. There are a lot of nice elements in there, and trip-hop is a genre that I have affection for, but there’s not any specific hook that grabs me and while I like the general vibe, it all feels a bit generic. Love Like Laughter - There’s a carefree edge to the vocal delivery here that I like and there’s a more engaging vocal melody to go with it. It’s still a bit wispy and drifty, but feels more focused. The instrumentation works better with the music here too and the electronic content is limited and doesn’t feel forced. Blood Red River - We’re very reverb-heavy again here. It’s another slightly meandering vocal melody above a fairly sparse accompaniment that doesn’t feel like it holds on to anything particularly well. It’s funny, because I don’t dislike it and it’s a pretty background listen, but it just sort of feels like it’s passing me by, rather than actually grabbing hold of me. Devil Song - It feels like there’s something a bit more to this. It feels more focused and even though it’s sparse and drifting in some respects, the core of it feels more coherent. It’s not going to trouble my favourites list, but it’s not a bad song and was a pretty and enjoyable listen. Feel To Believe - Continuing the theme, this is another that feels more focused. There’s a bit more melodic certainty to it and it’s got a stronger chorus. It’s a bit over keen on the vocal reverb again, but this feels very much like a singer-songwriter at an open-mic that everyone shuts up to listen to. In my opinion, when there’s more of a focus on the melody and core structure of the songwriting it feels like she delivers more emotionally and musically engaging work, and this is a pretty good example of that. Central Reservation (The Then Again Version) - And as if to directly counter the last song and it’s more singer-songwriter style, we get a remix of the title track. So late 90s. Especially the “it’s like” breakdown in the middle. It actually delivers a more focused development than the original mix in my position, but it feels a bit lacking in nuance and substance. It’s just a bit too 90s electro-pop for my tastes. It’s not bad, just a bit cliche and by the numbers in a “please include me on your film/tv soundtrack” way.
Very background music. Nothing particularly special.
Really didn’t expect to like this as much as I did. Perhaps it’s convenient timing, but this was a perfect Sunday morning vibe.